1,721,094 research outputs found
Le chant des mineurs : répertoire Bérard [illustration H. Schick]
No full textLe chant des mineurs. Répertoire Bérard. Paroles de Jost. Musique de Louis Henriette [Louis Henriett (1884-1952)]. [illustration signée] H. Schick. Fernand Dorey Éditeur [sans date - circa 1911]
Henry Schick (1870-1946) illustrateur : signature “H. Schick” [1911]
No full textHenry Schick illustrateur (1870-1946) : utilise les signatures “H. Schick” et un monogramme “HS” entremêlant les initiales ; a illustré des cartes postales et des partitions, entre autres, pour les éditions Louis Bénech, pour des éditeurs de Charleroi, pour des paroliers anarchistes et des chansons régionalistes, et pour des recueils de la Muse Rouge. [notice actualisée au 18/11/2018
Henri Schick (illustrateur 1870-1946) : signature “H. Schick” [1911]
No full textHenri Schick (illustrateur 1870-1946) : utilise les signatures “H. Schick” et un monogramme “HS” entremêlant les initiales ; a illustré des cartes postales et des partitions (entre autres, pour les éditions Louis Bénech, pour les éditeurs de Charleroi, et pour des paroliers anarchistes et des chansons régionalistes, et pour des recueils de la Muse Rouge). [notice actualisée au 18/11/2018
Troisième recueil Louis Bénech pour violon et mandoline (illustration couleurs H. Schick)
No full textTroisième Recueil Louis Bénech pour violon et mandoline ; illustration en couleurs H. Schick (non identifié, DR) ; compléter, recherche en cours
Troisième recueil Louis Bénech pour violon et mandoline [illustration couleurs H. Schick (Henry Schick (1870-1946)]
No full textTroisième Recueil Louis Bénech pour violon et mandoline ; illustration en couleurs H. Schick [Henry Schick (1870-1946)) ; compléter, recherche en cours
Le chant des mineurs : répertoire Bérard [illustration H. Schick (Henry Schick (1870-1946)]
No full textLe chant des mineurs. Répertoire Bérard. Paroles de Jost. Musique de Louis Henriette [Louis Henriett (1884-1952)]. [illustration signée] H. Schick [Henry Schick (1870-1946)]. Fernand Dorey Éditeur [sans date - circa 1911]
Pays de Bohême : java russe [illustration monogramme HS pour H. Schick]
No full textPays de Bohême : java russe ; illustration monogramme HS24 pour H. Schick date 1924 ; paroles de E. Dumont ; musique de F.L. Bénech ; ©1924 ; propriété de L. Bénech, auteur (adresse effacée : ? passage Reillac) ; [intérieur : “chanson enregistrée par Lynel, disque Pathé” ; ©1924 ; cotage LBP327 ; pas de mention gravure/imprimerie] ; verso catalogue ; incipit “Dans la nuit brune, /Sous le clair de lune” ; refrain “Pays de Bohême,/Où l’on chante, où l’on aime”
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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